Your archive was sold to the museum Igor Markin, becoming an important part of this museum. Tell me, what it represents. - More precisely, not the archive was sold to me, and the museum acquired Markina archive Grobman. That Igor Markin was the initiator of the process. What is the purpose in Markina, with its museum - is he can tell, in any case, he means the most serious, and I hope that he really will be the new Tretyakov. As for my collection, then its wrong to call the second archive of Russian avant-garde. I would call it an encyclopedia of all the documentary unfolded Russian art from the XVIII century. Books, albums, catalogs, newspaper and magazine publications, and documents.

- Why did you start to collect documents and books? Can you say how many storage units? - When the meeting finally goes to the museum Markina, will clear the volume, I myself still do not even understand how much of this collection. That no one ever did.

Why collect? The love of Russian art. K-forgotten artists. Or love for the artists who were not forgotten, but were young and made a new art.

- When did you started collecting? - It was a very long time, I can not say for sure, especially since so much was lost when moving from Russia to Israel in the 71-th year.

Because the archive is related to the study and to work on the history of Russian art, I want to talk not about the art and the history of Russian art. To say a few words long.

Despite the fact that already in the 60 years finally took shape what is now called the second Russian avant-garde, to this day about it no one really knows. This is remarkable: in Russian art has occurred, we can say revolution, it took only a minimum of 50 years, and nobody knows anything, all is forgotten.
  But what about the numerous exhibitions, catalogs, publications? This subject is now being actively present in the art, at least on the surface is visible. - Present art. But all these exhibitions, almost without exception, accompanied by the illiterate, biased commentary. Everyone pulls the blanket over himself. Galleries interested in a particular artist, of course, begin to twist the story around the name. The words "great", "brilliant", "great" applies to anything. The real value of the artist no one understood. For each artist, but the talent and beauty that he creates, there is a certain value. Who he was, what he did, what influence did. Here begins the confusion.

- And can it be restored? And who is able to do, because time is running out, people go ... - This will never, and no one did. And then, when we were young, and now, in post-Soviet reality. In the history of Russian art is still no chapter on the true story that began in the second half of XX century. Each establishes a hierarchy, which is advantageous.

- And, say, in contemporary American art, it exists? - Of course. Today in the West building of the hierarchy is parallel with the development of art. No one is not long in obscurity, the geniuses of invaluable not. Corrections and adjustments are always made, because every time creates a lot of popular artists, from which the remaining units.

And if you do not do the same job for the second Russian avant-garde, it then lost it all already gone: I - one of the last people who can tell the truth about this time. Artists'm not interested in other people's affairs, each does his. For this to be art historians, but they were not there and no.

- A collectors and popularization of art, as Talochkin, Glezer, Dodge and the like, which had tried to concentrate, to analyze? - All these names you have no relation to the analysis. These people collect Russian paintings, buying them at their own taste.

Say Talochkin was fanatically devoted to this art. His whole apartment was filled with paintings. The children huddled on the edge of, doing homework. A man has collected a huge amount of garbage and debris that was brought to the end. In the debris he had diamonds, but in art he did not understand anything.

In Glaser, the same situation. Let's start with the fact that Glazer was one-sided and always inclined to the group that has developed around Oscar Rabin. In the beginning, just beginning, he practically all of us bought a one-two-three works. But then, when he is at your own risk became operational, making the exhibition abroad, he appeared a lot of rubbish, things that did not have any significance. Indeed, Glaser has caused harm to the Russian art, making exhibitions in non-prestigious locations. A great number of exhibitions. He fussed all the time, not recognized by any Western museum, nor a criticism. Rabin, he gave as Solzhenitsyn in painting. Well, someone, tell me, care about "Solzhenitsyn in painting" in the West?

- Why not? Solzhenitsyn because in the literature of interest, why picturesque Solzhenitsyn was not interesting? - Solzhenitsyn - is it a political rather than literary. Serve Rabin as "Solzhenitsyn's painting" it's like to promote in the West Kramskogo or Perov, that is a dead issue.

West is well aware of where art, where the conversation is at. All people who understand the art, can determine where it ends and art begins sociality. We had to show Rabin as a man who is one of the first developing a conceptual. Then the interest in him would have been completely different.

Until now, few know that the first conceptual work, in fact, were made in Russia, in Moscow we have, even before they appeared in America. It missed in the West for a simple reason - they, no one has shown they just do not know. When they did, it turned out that in the West there is great interest in the Russian conceptualism. But Glaser never understood this, and therefore could not properly file a Russian art in the West.

Or, say, Dodge. Collected an enormous collection, transformed into a museum Tsimerli. The same problem - about ten per cent of the good work. Everything else is garbage.

- You are in my journal "Mirror" is constantly publishing material on the second Russian Avant-garde, in the UFO the book of memories. All this together creates a picture of the second Russian avant-garde or not? - These memories should be treated with great caution: the artists, like actors, they like to pull the blanket over himself. The problem is that written to be a critical test, but nobody checked. When I read I will not say whose memories - I see where he told the truth, where he became interested in a little bit, where he became interested in consciously and unconsciously where. But no one else can read it all to realize: people do not know really existing situation.

You have to understand that our environment is perceived alien, KGB or the Union as a community of artists. We were united community. But within that circle was still a large number of different divisions.

There were single mothers, such as Weisberg or Krasnopevtsev. Was a group - Plavinsky, Zverev, Kharitonov. Sometimes artists flows from one group to another. Grobman, Yakovlev - a separate group, also belonged to her Pyatnitskii, Kurochkin, Zelenin, etc. Perhaps this is the most extensive group was.

There was also Lianozovo - Rabin, Nemukhin, Masterkova, Leo Krapivnitskaya, ie formed on the basis of the teachings of the Patriarch Evgeny Leonidovich Krapivnitskogo.

Who did I miss? There was a group at one time - Kabakov, Yankilevsky, Grobman, Unknown. This is the issue of overflow: Grobman with Yakovlev one group, and Grobman Kabakov and Yankilevsky - another. While we were all connected in fact.

I remember being met Volodya Weisberg. That was in 1960 in the house Chaliapin Ilya Ioganovicha Tsirlina. Opens the door, is a tall man, Ilya Tsirlin us are familiar. Weisberg And loudly shouted "Oh, everything full circle. Now I know the last person that I did not know. "

It was not just a burst of emotion, it was very accurately stated: the circle was, and the range was indeed closed. In 1960, he has closed and began to exist independently from the whole of Soviet culture. And no history of our group was not engaged. Although the first collectors appeared quite early.

- Who was that? - This research was neither then nor later. Early collectors - is, for example, Vadim Stoller, who had a large collection. It was and Kostaki dealing mainly Zverev. Novozhilov Academician collected Yakovlev, Sanovich - Veisberg, Richter - Krasnopevtsev Vasiliev - Yakovlev. I first saw the work of Yakovlev, the 1957-m Sasha Vasilyev on the walls.

We were called dissidents, nonconformists, gave the most absurd names, mostly invented by Western journalists. But our self then it was - "Moscow leftists. I coined the term "second Russian avant-garde", and for a long time, no one took it, preferring other titles. Now everyone uses this term.


- Why have you insisted on this term? - Because it was a new vanguard. Vanguard beginning of the century should be called "classical avant-garde. Second Russian Avant-garde artists was 39. When did the exhibition "Other Art", I have them counted 111 people. In other art may well be 111, but the second Russian avant-garde is not 111, namely 39.

Today everyone wants to belong to the second Russian avant-garde, and everyone who sells Russian art, artists call their "second Russian avant-garde", adds them to us. But the train left, and that all people should be then belong to, and not many years later.

Then there was the "unofficial art", which also should not be confused with the second Russian avant-garde. "Unofficial art" is not recognized by the authorities, was not considered proper, competent, fit. It was a lot of abstract, expressionist, surrealist, etc. Throughout the Soviet Union, it numbered several hundred people. In Tbilisi, Ukraine, Moldova I met with informal artists, doing the jobs under the various contemporary Western artists. But they were not the original artist, imitating Western art, its various manifestations.

- You will not find a single person, which could be included in your group? - Maybe the Georgian Auto Varazi, which made things somewhat like Daniel Spoerri, glued to the table cloth everything that stood on the table, including cigarette butts. Auto Varazi I like to join our group.

- A St. Petersburg comrades? - In Leningrad were very good artists, but artists, which include both the second Russian avant-garde, was not there.


- State the importance of these groups. - Means this: "the second Russian avant-garde" - 39 people, "unofficial Russian art" - a few hundred people. Most young people, although people came across from the old generation.

There was still left MOSH, ie progressive socialist realism. It's the artists who worked under the influence of Petrov-Vodkin, Konchalovsky, Lentulova and others, each had its own influence. That is, they existed under the influence of artists who were in opposition to the vanguard, in opposition to Malevich and the Constructivists. Falk and Tabor were their geniuses and idols.

Well, the last category - it is "official Russian art, which can be divided into" official "and" mouthpiece ". Officially - it Nalbandian, etc., painted portraits of the leaders. Court painter. And they were just the official artists who made Socialist Realism under Korovin or under Levitan, although mostly they were doing that reflected the socialist reality.

The main mark a watershed: the second Russian avant-garde - unofficial art. This is important, because no one still does not understand that there is a difference between them, confuse them all the time.

- What is the value of the second to the Russian avant-garde art? - All that was done in an informal art, has no value. It's been a repetition of the Western or even Russian backsides, not independent thought or independent work. Left MOSH - this is essentially eclectic, their things interesting as a social event, but they are not the event of fine arts. Nor is the event socialist realists and mouthpiece.

The only people who were doing their things on their own ideas for their own reasons - are people of the second Russian avant-garde. And all of them also can not accept unconditionally as remarkable artists which produced the revolution. For among the artists of the second Russian avant-garde were the people who is only interested in the earliest work, say, early 60's. And then they started doing something uninteresting.

It was altogether a fantastic artist, of which only legends remain. Vladimir Slepian. I do not even have time to meet him. Disappeared. He left Poland in 1958, and thence to France. One of the most fantastic shapes, from which nothing remains. We have published a "mirror" of his poems and letters.

It was something completely unrelated to the Soviet way of life. Many decades brought the Soviet man - and suddenly, only to stop the terror, was a new generation that has to think quite differently, as would the authorities.

West and East, we were then merged. Klee and Miro were for us the same figures as Kandinsky, Malevich. They were just as ours, like all the others.

- And now that - is not it? - Now it's all classic, everybody knows that, but try to understand the significance at a time when many more of these classics and classics-they were not. For example, the American pop art. They also worked in the 60's, as we are. We knew about them and appreciated, but not imitated. For us, it was colleagues, very distant from us. We had other ideas.

As an example, I could mention a number of works of Rabin or Kabakov, are the first shoots of conceptualism, ie new art, which the West has appeared only in the late 60's. We have several years ahead of them. In 1964 I already had a collage with Stalin, which Joseph Backstein called (in the cat. "Europa, Europa"), the predecessor of Sots Art.

- West agrees that you are ahead of Western conceptualism? - Even then Indrzhih Halupetsky - Czech critic who wrote for the French, German and other leading western art magazines, said: "You do what the West will just have to deal with. He was an important art critic of the international plan.

But in general it can not be objectively reflect on one simple reason: this is a harbinger nobody knew anything. We had some exhibitions, suppose I had a solo exhibition in Czechoslovakia, in a provincial town. The whole exhibition concept, in fact, work. But who could see her?

- Now that the archives are open and when it all became one big village, it's all lined up? - Which files are open? There are a huge number of well-wishers, struggling promoting good artists, in which they are interested or who they love. If something is being written, say, Boris Groys, who has written about Kabakov and about Russian art, he wrote it in the spirit, which like the Germans. He writes not what actually happened, it is just do not know, he was staff at Kabakov. While Kabakov our friend, one of the most important of our artists, one of the central figures in the movement, about which we speak.

- Recently, at the same West took a lot of exhibitions of the second Russian avant-garde. They had to somehow clarify the picture. - Was an exhibition "From Malevich to Kabakov", where he was, and classic Russian avant-garde, and the second Russian avant-garde together. It made Mark Schoeps at the Museum Ludwig in 1993 in Cologne.

I remember Catherine Tar wrote: how so, why these artists are exhibited, but not the same, so those had to be set. It looked very strange and funny: the Germans are doing the show and take the Russian artists, which want. But the Germans were supposed to organize this hierarchy, and Russia. But Russia will never did.

- How do you prokommentiruesh prices for works by artists of the second Russian avant-garde? - For those who could represent the Russian art, no one has ever stood. For the Germans were Germany, the Israeli artist stood for Israel, for the U.S. - America. Huge money was spent by Americans, to show the world of pop art. We do all our exhibitions, beginning with the show 60-ies and to this day, have always been orphans.

- And how it relates to commercial success? - If a country is not worth for their artists, then they can not be real commercial success. Is a kind of surplus value.

So it was in Russia, yet there were political changes have not appeared wealthy people, who have realized that money alone is not happiness. The same thing happened with the Russian merchants. Tretyakov Riabushinskii, Morozov. Now we have entered into the most remarkable era in which appeared a number of serious Russian collectors. Earned money they are investing not only in the physiological pleasure, knowing that the most important pleasure comes from music, literature and art. First they bought Shishkin, Aivazovsky, today it is buying Yakovlev, buying an entirely different art, which most recently for them did not exist.

- Do you think that prices will increase this in the future? - There is no reason to Americans - such as Jasper Johns, Rauschenberg, say, or Liechtenstein - worth millions of dollars, and Yakovlev, or anyone can be called from this group, worth tens of thousands of dollars ...

- Do you think that the world market, Jasper Johns and Yakovlev should cost the same price? - One is not one, but they should be in the same league.

After all, what is the world market? In America there are lots of artists, it is very important for Americans, which is conceptually absolutely no need of Europe, nor Russia. But if these purely American artists who are not wanted, to sell their some Frenchman or a Jew from Israel to buy for big money immediately. Why? Because he knows that in America there is a market for them, and he can always sell them to the dealer in America.

If the dealers know that somewhere in Zambia value of a black artist, it may be, Western collectors and do not buy, but dealers will buy, because they know: there is a market for it. The same thing will happen with Russia. Several artists will be valued in Russia and therefore will be on the international market, because in Russia there is a large market. This will flow back and forth. The second option - is when a number of Russian artists will be included in the clip of the international collecting.

- Who will be on your forecasts? - Kabakov. He has already entered into this category, we know that his latest sales went into the category of millions. This is natural, expected, and it is strange that it happened so late. And, again, for the simple reason that not enough Russian stood behind him. We are still orphans, not like before, today we are more comfortable in an orphanage, before we hunger starved, ill-clothed, we are now fed decently in our children's home, but we continue to be orphan. I am in a better position, because for me is Israel.

- Who of Russian impression in the West? - Yakovlev, for example.

- And you think that Yakovlev will figure, that is, the international art market? - I do a lot and show it did, and showed it to people, understanding, loving art. Yakovlev always made a huge impression on artists, art historians, dealers western. The exhibition at the Museum Ludwig, they made quite a grand impression, and it is natural, because they so deserve.

- Kabakov, Yakovlev, who else in your opinion will shape the international art market, in the full sense? - Well, let's say, Yankilevsky. All of his work 60-ies - absolutely world-class. Museum of class work.

- And where is your place? After a 71-year you are miles and miles away, and yet your role in the second Russian Avant-garde is not contested. - My conceptualist first things done in the mid 60's, I have already spoken. For example, the first use of a portrait of Stalin in the artistic work. Happened in 1964, this work is also now known everywhere and is published in the Museum Ludwig.

Next - the first destruction of the myth of Lenin. I did this work in 1979-81, respectively, these were the first works of Lenin, which destroyed the mythology. This is a whole series of my works, which is called "Leniniana. Again, it is all located in the Museum Ludwig, and they exhibited it several times.

Above all, there is another aspect. Russian art exists Yiddish Jewish art as an integral part of it. Lissitzky, and many of the Constructivists, Suprematists and others, or a step seen as Russian art.

In the world of art is perceived depending on the theme of the exhibition or as a Russian art, or as a Jewish art. In this regard, I also exist in two ways. Russian art I am a Russian artist, as well as Levitan or Altman or Chagall. In Jewish art I am Jewish artist.

Chagall as it was a measure of Jewish art. But it has long been wrong. Today shagalizm turned into a toxic effect which arose a great number of Jewish kitsch. He was a brilliant man who is the founder of kitsch. Like Salvador Dali. In fact I was the first Jewish artist who makes a new Jewish art, which became part of the Russian, and located in the codes of modern international language.

the code name by late fifties of XX century the friendly circle of poets and artists, a center who was an artist and poet, Eugene L. Kropiwnicki (1893-1978), and which included the poets Henry Sapgir (1928-1999), Igor Holin (1920-1999), Jan Satunovsky (1913-1982), Vsevolod Nekrasov (b. 1934), as well as artists Oscar Rabin (b. 1928), Nicholas Vechtomov (b. 1923), Lydia Masterkova (b. 1929) Vladimir Nemukhin (b. 1925), artist and poet Lev Kropiwnicki (1922-1994), son of EL Kropivnitskogo. This circle was formed gradually and spontaneously, at first singles was getting into good friendly communication, and then the friendship, and creativity in the foreground is not any single aesthetic canons or aspirations, and the total of all the desire to build a new poetry and express themselves with the greatest fullness: "... was not a group, not a manifesto, as it happens, the concrete. Although united by the authors ultimately something similar ... "(Vs. Nekrasov). For poets and artists, "lianozovtsev" characterized by an increased interest in the quest companions and mutual support.

Decisive role in the formation of "school", at least initially, played EL Kropiwnicki, who became a spiritual teacher for I. Choline and G. Sapgir. Man, generously endowed by nature, the artist (in 1911 he graduated from the Stroganov School), musician (his opera "Kiribeevich" was highly appreciated by composer Alexander Glazunov), poet (before the revolution, published in periodicals), he was also a large, distinctive person, kind, organically combines lyricism and skepticism, a born teacher, who taught not anything, but gradually - in conversation or in passing through this evaluation delivshiysya knowledge with the student, awakens the dormant talent, help students understand their own nature. Ultimately, the influence exerted and life teacher who, in the words of G. Sapgir, there was like antique or ancient Chinese philosopher, is extremely modest, even ascetic, but he lived an intense spiritual life.
 
EL Kropiwnicki was directly linked to the culture of the "silver age" among his friends and close friends - a poet and translator Arseny Alving (1885-1942) was actively promoted poetry IF Annenskogo and parses the file after the death of the master, poet and translator Yuri Verkhovsky (1878-1956), engaged, in addition, as a historian of literature, XIX century, the poet Filaret Chernov (1877-1940). Close friends or associates in the paintings were the artists Pavel Kuznetsov (1878-1968), Robert Falk (1886-1958), Alexander Tyshler (1898-1980).

All this, of course, reflected in the picturesque aesthetics EL Kropivnitskogo, and his poetics. Refusing in 1930 from his previous literary manner, he destroyed most of the written to the point of verses (composed in his collection, which was released in 1977 abroad, EL Kropiwnicki included only the poems written after 1937).

He emphasized called himself a "poet margin and burgess houses. His poems, the maximum specified, however rich, like redundant detail, depicting the life of this most suburbs, where nothing is hidden from neighbors' eyes, but no one and does not hide, where everyone and everything about each other know enough to look over the fence or any of the windows:

The fence is a prostitute.
The girl blond.
The house has 9 - eating a duck
And the sour cabbage.

She would fall asleep on the bed
A pair of newlyweds.
In the 112th Artel
Life was homely.

   At these "low" and even "sordid" by the standards of the previous "high" poetry scene, EL Kropyvnytskyi looks a little ironic, but with obvious warmth and compassion. The contrast in his poems of the Cosmos and the human-plaguing bytya turns clearly not in favor of the first:

   There are light stellar horror
Blushing red Mars
And here the lights and the people
And on the stage farce.

   Mocking words of the "depths of the world" and "star empty expanse, and quite honestly acceptance of the" earthly ", as though small it may be:

   There horrors of the rotation
In stars of the sky the entire set
Here vodka, refreshments --
And we cozier here.

   Method EL Kropivnitskogo-artist, according to the same G. Sapgir can be defined as "minimalism" and "aestheticism" (characterized by the name of one pictorial cycles - "bleakness"). However, despite the fact that the subjects of his paintings are often anticipated the themes of poetry-poets "lianozovtsev" - here and landscapes of the outskirts, and portraits of the inhabitants of border regions, in particular, women - a picturesque vocalization and tone of these works are different kind of no conspicuous major, and in a sense, absence of conflict. The girls and women in the paintings, EL Kropivnitskogo longest continuously rotated or tilted neck (hence the picture overlap with paintings A. Modigliani) and firmly whipped squat shape. Nevertheless, the combination is not repellent, it is quite organically.

History "Lianozovo school" begins from a distance, the human connection, "lianozovtsev" occurred long before they became poets and artists. Before the war, G. Sapgir engaged in the literary circle, who was at the House of Art Education A. Alving (same literary studio and went to LA Kropiwnicki, but then they never met). In 1944, after returning from self-evacuation to Moscow, fifteen G. Sapgir went to the House of Art Education, hoping to meet friends, in addition, give the guys "working" meal ticket. There he met with EL Kropiwnicki, who was the artistic circle (A. Alvinga was no longer alive), but here he first saw and was engaged in the artistic circle O. Rabin, which soon became friends.

On the right of family members G. Sapgir lived in the house Yevgeny Leonidovich Kropivnitskogo and his wife, Olga Potapova Ananevny (1892-1971), also willed artist, at the station "Dolgoprudnaya" Savelovskaya railroad. In 1945, the returns from the front L. Kropiwnicki, but already in 1946, received a ten-year period, falls into the camp. In 1949 the house of EL appears Kropivnitskogo IV Holin, accidentally razminuvshiysya with G. Sapgir (the one from 1949 to 1952 he served in the army). In 1956, returns from prison L. Kropiwnicki. In 1959, after meeting with Rabin, within the same range of Sun Nekrasov, in 1961 there Satunovsky Ya, in 1967 - came from Kharkov Limonov.

Obviously, in this ever-widening circle, many were no longer direct disciples EL Kropivnitskogo, although experienced its effects, and have learned a lot from his poetics, translating learned in their own creativity. So Sun Nekrasov as his direct teacher, poet, NI Glazkov (1919-1979), J. Satunovsky came fully formed man, who has found his own original long poetics, which has not changed since.

Then, in the late fifties, a meeting of the house EL Kropivnitskogo actually moved in Lianozovo (the so-called settlement of the same Savelovskaya railroad, located a little closer to Moscow, now merged into the city). In Lianozovo was divided into apartments barracks where they lived Oscar Rabin and his wife, Valentina, daughter of EL Kropivnitskogo (there is a work of O. Rabin called "Valine hut, made in the 60's).

On Sundays, there were some sort of an exhibition, where it was possible to see other people's work, and show their own. It also recited poetry, talked about art, share their views and arguing. Among the regular visitors were scriptwriter SL Lungin with his wife, an ardent admirer of the new art of literature LE Pinsky. They came in Lianozovo poets BA Slutsky, LN Martynov, Nazim Hikmet. Visited one of the Sunday show IG Ehrenburg did not opt, however, directly his opinion about the pictures.

Meanwhile, the official reaction was sharply negative, published a series of newspaper articles, which names themselves - "The priests of a bin number 8", "My dear price lentil soup," "Loafers climb to Parnassus" - talk about their orientation. Organization of a certain "Lianozovo", among other things, the blame was placed in EL Kropiwnicki, in 1963, shortly after visiting NS Khrushchev's art exhibition at the Manege, expelled from the Union of Artists for "formalism". It was then sounded for the first time this phrase learned later art historians and literary critics.

It should be emphasized that "lianozovtsy (except J. Satunovskogo) was never interested in social issues. It would be wrong to relate the search for artists, "lianozovtsev" with "gritty" Soviet Artists 60-ies, and the search for an updated post-war poets of realism in literature. Staying in a single space and time, although they did not flee from the present, did not suffer for her interest. Since the first publication in the samizdat journal Ginzburg "syntax", which saw the light of the poem G. Sapgir, I. Choline and still refer to "Lianozovo" circle Sun Nekrasov, they were interested solely questions of poetics. Another matter, as perceived their work more. The very appearance in 1959, an independent magazine, what is the "syntax", the author and editor who agreed not to refer the policy has been elevated to political action, because their actions were interpreted as a desire to escape from under the oversight of the state.

Nevertheless, the social criticism is not characteristic of "lianozovtsam. The main and the only thing that was of interest to them - it is aesthetics, at the initial stage, perhaps, "antiestetika. But their chosen sites were outside the official culture.

Part borrowing themes from EL Kropivnitskogo, his disciples abandoned irony and lyricism characteristic of the poetry of their teachers. Restrained, bezemotsionalnaya "declare" intonation transformed "a lyrical sketch" in the "grotesque" (the subtitle of the first poetry book by Sapgir that existed in typing).

They also wrote about the life of the city suburbs, and about the life of its inhabitants. But the chosen themes, plus expressive, pointed sharp poetic techniques have caused an extremely negative attitude of the representatives of official culture. Drifts from social poets paradoxically became the critics' position in social life.

In the book of Howlin 'Living in the barracks, "written in the 50's and not in its entirety was published in 1989, and a large loop" shanty lyrics "represented by the exact observation literary V. Kulakov, the whole" epic "marginal life .

   Someone threw the mat,

Someone threw the slops,
On the fence someone's mug,
The inscription in chalk: "This is Zoe.

Two spores in the shed
And one really climbs into a fight ...
Output. The beginning of May.
Boring residents of the barracks.

   This and many dozens of such sketches are arranged into a coherent picture of the lone and everlasting peace.

Specification limit, until the street name, house number or institution - so when I. Choline was asked in later interviews, where the same is described by his hut, he mentioned the exact address: 1 st Dubrovskaya street Novosimonovskaya settlement - are not a simple statement facts, a kind of ethnographic or physiological essay or diary entry. This, apparently, "meticulous" approach has a downside, any particular fact, the incident (not an event - not the scale) elevated the poet to the rank of art. For poetry I. Choline this period is characterized by someone else, "quotational" word. Poet, as it were suspended from happening, but his poems were also voices of characters, the voices of the street. Significantly, that the first book G. Sapgir, composed of poems 1958-1962 period and, of course, did not see if the light is called "Voices". His early poems in many respects similar verses I. Choline. Fragments of street talk, as if by chance heard (lack of punctuation indicates a "chance", spontaneity), also depict the absurdity and futility of existence that, who says it can not be a real marginal, but certainly, certainly, people who are not in the center of life, ordinary people, "smoky sky":

   Had an abortion
The restaurant is pumped
Do not come to a concert

U accountant myocardial
Sentenced to ten years
Motrya and only he died
I myself love the ballet.

   I. Choline called himself a satirist, G. Sapgir, avoiding any definitions, however, said "delusional", "farce" of his early poems. But, be that as it may be, their poetry for a long time stuck definition of "shanty poetry."

However, despite different poetics, something similar can be found in verse Ya Satunovskogo. Speaking about his passions (a poem of his, the Observer G. Aigi, is a "replica", recorded on paper we are not heroes, but the poet himself - his dialogue with them), J. Satunovsky, again, calls the exact address:

   Until then I like naughty girls,
that publicly drayutsya in the river near the church,
so pop
with prayer
confuses "edrittvoyu.

Until then I enjoy local nature,
and the sons and daughters of the local people --
Monino
Zheleznodorozhnaya
Perov.

   It's the same shanty towns and stations, the same grotesque world where living is not grotesque people, no matter how bizarre they seemed to words and actions.

In the strict sense of the word "Lianozovo period" ended in 1965, when Rabin and V. Kropivnitskaya moved to Moscow. But friendships are not broken up, the meeting continued, although their address, as embodied in poems - house number 8, not far from the Transfiguration Square - has changed. With this in their literature search poets "lianozovtsy" has gone from each other. Artists from the outset to work in different manners, and even polemically to emphasize the problem, one of them once said: "We are united by only a lack of freedom, otherwise we would be enemies, so we have a different understanding of art and worldview."

Several attempts to link the poets' Lianozovo school "with one or another tradition. These attempts can not be considered successful, because a direct relationship with any artistic trend or direction simply does not exist. Of course, indirectly, through the influence of EL Kropivnitskogo (and G. Sapgir also thanks to communicate with A. Alvingom, who taught him the basics of poetic craft almost an iron ruler Brusovsky school), "lianozovtsy" Many viewed the experience of the "silver age". In all other cases, you should not speak about the connection, albeit indirect, but only an analogy. Experiments performed on the "lianozovtsami" history, if you use an expression borrowed from the exact sciences, absolutely "clean".

Creativity "oberiutov", with verses which made comparing the works of poets' Lianozovo school, in the forties and fifties, was unknown. In addition, such a comparison is inappropriate. Poetry and prose "oberiutov" should be regarded as a kind of treatise in verse and prose, the result of their philosophical Studies. "Lianozovo school" was not a philosophical school, not create a symbolic picture of the world and has not proposed expanded system of symbols, as it is a "oberiutov. The samples of "concrete poetry" "lianozovtsy" met on two small publications in the journal "Foreign literature" Then, when it came to self konkretizmu.

Poetry "lianozovtsev" much more productive to compare with the poetry of early Russian Futurism (D. Burliuk Kruchenykh), as well as with the poetry of German Expressionism (G. Benn, GA Heym, B. Brecht). According to the latest recognition of G. Sapgir, the value of Expressionism in the XX century can not be overstated: "Generally, I believe that XX century - a century expressionism. Not German, social, but expressionism as such expressions. Besides, one should recall that in the artistic experience "lianozovtsev" social stood out through the aesthetics, what exactly said I. Choline: "... how could I not vykrutasnichal that I did not invent the form, anyway, following the withdrawal realistic poetry. And he added - his remark is true for poetry G. Sapgir.

You can find many parallels in theme and poetics "lianozovtsev and such poets of the postwar" Leningrad avant-garde, "as Vladimir Uflyand, Gorbovsky Hleb, Oleg Grigoriev (which, while still very young, came to Lianozovo).

But stress is very significant for "lianozovtsev" desire for independence. Seeing that their work can not appear in print, they made no effort to placate the standards, or write a certain amount of "migratory" poems, in order to get into the literature. Poets "lianozovtsy" not considered a literary work, as a way of earning. For example, G. Sapgir spent eight years in the sculpture studio MOSKh, I. Choline was also a guard and a waiter, Ya Satunovsky until retirement was an engineer. But when in 1959 the opportunity to work in children's literature, "lianozovtsy" this opportunity was used. G. Sapgir has released 40 poetry books for children, has composed more than two dozen scripts for animated films, I. Holin, according to his own account, written over two hundred children's poems, published more than 20 children's books, poems for children written and J. Satunovsky.

However, the fate of "lianozovtsev" was not easy. Rabin, who participated in the "Bulldozer Exhibition", was after several years of harassment deprived of citizenship, that was the cause of emigration. Also emigrated and L. Masterkova. For the promotion of creative members of the literary group SMOG was expelled from the Writers' Union G. Sapgir, and after a large collection of his poems was published in the almanac Metropol, he could not for some time and published as a children's poet. Before the "adjustment" just nine - and not "adult" and "children" - has managed to publish the poems at home Sun Nekrasov (they came in made up of a collection of "Between Heaven and Earth", 1976).

Although the Lianozovsky school "or" group "as the union never existed (likewise, has never been the group" The specific "invented E. Limonov, who in 1977 declared it an illusory union, adding" lianozovtsam "V. Bahchanyana IN . Lena, E. Shchapova and myself), but because a mistake - put it in line with the group of L. Chertkov, disintegrated in 1957, and there were close in time and space smog, the name is left in the history of literature and art opening " lianozovtsev "were not only internalized but also appropriated, often without specifying the source. Conceptualism and konkretizm, which play such an important role in the recent literature, have been created in Russia and conceptualized IV Holin, J. Satunovskim and Sun Nekrasov, who leads a fierce and relentless struggle, defending the historical truth and proving in his articles and books, who should give the palm.

By "lianozovtsam" gradually came recognition. In the seventies and eighties of their poems and articles have appeared abroad, with the nineties, a publication devoted to "Lianozovo school", began to appear in Russia. In 1992 in Germany was carried out so-called "Lianozovo program": an exhibition of artists' lianozovtsev "exhibited in various cities, both spoke with verses IV Holin, G. Sapgir, Sun. Nekrasov, earlier, in 1991-1992, exhibition on display in Moscow, and performances took place in an expanded format. The book where the poem "lianozovtsev" given simultaneously in German and Russian languages. The collection also includes articles about 'Lianozovo School, reproductions of paintings "Lianozovsky" artists, it is attached to the tape, which recorded performances as a good health then the poets, and has already gone from the life of EL Kropivnitskogo and J. Satunovskogo.

   Literature:
E. Kropiwnicki. Sad smile. Paris, 1977.

E. Kropiwnicki. Earthly comfort. M., 1989.

Vsevolod Nekrasov. Verses from the magazine. M., 1989.

Vsevolod Nekrasov. Help. M., 1991.

Jan Satunovsky. Do I want to posthumous glory. M., 1992.

Henry Sapgir. Works in four volumes. T. 1. M.-Paris, 1999.

Igor Holin. Favorites. Poetry and poems. M., 1999.

Igor Holin. Selected Prose. M., 2000.

   Nekrasov. Lianozovo Chernukha. - In the book.: "Other Art". Moscow 1956-1976, a chronicle of the artistic life. T. 1. M., 1991.

And lordly pentameter, and bird calls. Henry Sapgir talks with Eugene Peremyshlevym. - "New Literary Review, 1992, № 1.

Lianozovo group. The origins and destiny. Collection of materials and a catalog of the exhibition at the Tretyakov Gallery. 10.3-10.4.98. M., 1998.

Vladislav Kulakov. Lianozovo. History of a poetry group. - In the book.: Vladislav Kulakov. Poetry as a fact. M., 1999.

Oscar Rabin - Val. Kropivnitskaya - Massimo Maurizio. "There is no underground painting we did not have ...". - "New Literary Review, 2004, № 65.